Sd what if instrumental

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And when engineers are evaluating any new solution, they want to understand their options. As a product design engineer, I consider a digital or phone camera one of the most valuable tools to have with me on the assembly line, second only to my notebook. Being able to document a damaged component, or the errant alignment pin on the assembly jig that caused it, is critical to improving assembly line process.

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How many units escaped with the same issue? Background and objective: A priority focus on palliative and supportive care is helping the Lacking support may lead to caregiver distress and poorer care delivery to patients with serious illness. We examined the potential of instrumental support assistance with material and task performance to mitigate distress among caregivers.

We examined interactions between burden and instrumental support on caregiver distress level. H 3 : In contrast to musicians who pursue short-term goals, musicians who pursue long-term goals will 1 hold stronger meta-emotion beliefs supporting the utility of unpleasant emotions in musical practice, and 2 may seek to experience emotions in musical practice which do not solely emphasise immediate hedonic reward.

Participants provided informed consent to take part, and then completed an English online questionnaire seeking information on the following topics:. Participants reported their age and the age at which they began playing music Age of Commencement; AoC. From these the total number of Years of Playing YoP was calculated. Participants were also asked what musical instruments they play, and how actively they are involved in a range of musical styles.

In addition, they provided information about their musical practice times: Current weekly musical practice was assessed by asking participants how many hours per week and days per week they practice music. Cumulative Life Practice time CLP was derived from year-by-year weekly practice hours, according to a retrospective self-report.

Participants were asked to report how often they used different emotion regulation strategies to influence how they felt over the last 2 weeks of their musical practice. Participants were not asked to report how effective each strategy was. Instead, they reported only the extent to which each strategy was used during musical practice.

A similar approach was used by Lane et al. Participants were asked to rate the extent to which they pursue different goals in musical practice e.

See Table 3 for a complete list of practice goal items. First, participants indicated how strongly they typically experienced each of these emotions during musical practice. Second, participants indicated how much they would seek to either increase or decrease the intensity of these same emotions in order to support their musical practice. The specific emotions in this scale were derived from the circumplex model of emotion Russell, and assess: pleasant emotions Calmness, Happiness , low-arousal, unpleasant emotions Gloom, Downheartedness , high-arousal, unpleasant emotions Anger, Anxiety and emotions associated with both high- and low energetic-arousal Energy, Nervousness, Sluggishness.

One additional item Concentration was included in the scale. Participants indicated their level of agreement with a custom set of statements concerning the impact of emotions on musical practice e. See Table 3 for a complete list of meta-emotion belief items. Analysis and findings related to personality will be reported elsewhere. The data were analyzed in several steps. These factors were then divided into high and low categories, based on a median split. MANOVA was used to investigate A differences in the emotion regulation strategies used by musicians who hold different meta-emotion beliefs, and B differences in the meta-emotion beliefs of musicians who pursue different goals.

In step 3, musicians were classified into ad hoc subgroups on the basis of their meta-emotion beliefs and goal orientation. Descriptive statistics were used to examine the pattern of specific emotions that these subgroups sought to regulate in order to support their musical practice.

Additionally, MANOVA was used to identify differences between these subgroups with respect to the preferred intensity of these emotions. Bowed string, keyboard, and woodwind instrumentalists were most strongly represented in the sample. Musicians reported Classical or Posts Contemporary Classical as the musical styles in which they were most actively involved. The Shapiro—Wilk test indicated that a number of variables were not normally distributed.

Therefore, the Mann—Whitney U -test was used in all comparisons for the sake of consistency. Bonferroni corrections for multiple comparisons were made where appropriate. Table 1. The demographic and musical experience data of the sample plausibily differentiates between professionals and students. In general, professionals were older than students and reported longer lifetime involvement with music as indicated by YoP and CLP.

In order to be cognizant of the potential impact of musical experience on subsequent results, preliminary analysis examined possible differences between professionals and students with respect to the emotions typically experienced during musical practice, attitudes toward musical practice, and emotion regulation strategies.

Unpleasant emotions were not experienced strongly in general. In general, this sample of musicians reported strong positive attitudes toward musical practice. Compared to students, professionals reported a significantly greater feeling of being in control, and of having greater focus on what they are doing in musical practice. Table 2. There was no difference between professionals and students for the use of affect-improvement strategies.

In general, differences between professional and student musicians were infrequent. The effect sizes were small in the case of the differences that were observed. As a result, professionals and students were merged into a single sample for the subsequent analysis. Professional vs. The first belief factor was named Emotion-Driven Practice and explained The second factor was named Non-Hedonic Driven Practice and explained This factor refers to the belief that a musician does not necessarily have to feel good in order to practice effectively, and that unpleasant emotions may help to improve musical practice.

These two beliefs include an overlap regarding the possible benefits of unpleasant emotions in musical practice. The upper section of Table 3 shows the final rotated factor solution for meta-emotion belief items. Table 3. PCA with oblique rotation of meta-emotion beliefs and musical practice goals.

The first factor was named Mastery and explained This factor refers to practicing music in order to develop expert musical and instrumental skills. The second factor was named Enjoyment and explained This factor refers to practicing music for the purposes of enjoyment and recreation. The lower section of Table 3 shows the final rotated factor solution for practice goal items. Each of the meta-emotion belief and practice goal factors were divided into high and low categories using a median-split.

Table 4 shows the quantity of musicians assigned to each category, and provides an overview of their demographic and musical experience characteristics. The following observations are made on a descriptive level only: strong Mastery orientation was characterized by musicians with greater musical experience, as indicated by YoP and CLP. A roughly opposite profile was indicated for strong Enjoyment orientation. Furthermore, strong Enjoyment orientation included musicians that were younger, with less musical experience.

In addition to this, the strong-endorsement category for both emotion beliefs was populated by older musicians, with greater CLP and YoP. Table 4. Endorsement for this belief two levels: strong and weak endorsement was used as a between-subjects factor. Musicians with strong endorsement of Emotion-Driven Practice reported greater use of affect-worsening strategies and less use of affect-improvement strategies compared to those with weak endorsement of Emotion-Driven Practice beliefs.

Endorsement of this belief two levels: strong and weak endorsement was used as a between-subjects factor. Musicians who strongly endorsed Non-Hedonic Driven Practice reported greater use of affect-worsening strategies.

Mastery orientation two levels: strong and weak orientation was used as a between-subjects factor. Enjoyment orientation two levels; strong and weak orientation was used as a between-subjects factor.

Musicians who strongly pursued Enjoyment goals showed weaker endorsement of both beliefs, compared to musicians who did not strongly pursue Enjoyment goals. Musicians who strongly pursued Mastery but not Enjoyment goals showed the strongest endorsement of Non-Hedonic Driven Practice beliefs compared to musicians who either A strongly pursued both, B strongly pursued neither, or C strongly pursued Enjoyment but not Mastery.

Musicians with a strong Enjoyment orientation but a weak Mastery orientation showed the weakest endorsement of Non-Hedonic Driven Practice. The preceding analyses provided preliminary evidence that the endorsement of Non-Hedonic Driven Practice plays a small, yet conspicuous role in the emotion regulation behaviour of musicians in musical practice. The findings of particular relevance in this regard are summarized:. Descriptive statistics confirmed that musicians in this sample strongly endorsed both beliefs.

Taken together, these findings may indicate that a subgroup of musicians exist whose regulation behaviour could be seen as consistent with instrumental emotion regulation principles. In order to strengthen this perspective, we addressed the question of whether certain musicians selected to experience unpleasant emotions in order to support their musical practice.

Musicians were assigned into one of two subgroups upon fulfilling the criteria in Table 5. A brief summary of the demographic and musical experience characteristics of these subgroups is shown in Table 6.

Table 6. Demographic and musical expertise characteristics of subgroup musicians. Descriptive statistics were examined to investigate the intensity of emotions that were typically experienced by both subgroups. An overview of these emotions can be seen in Table 7 and Figure 1 left side plot. Both subgroups showed a relatively similar overall profile of these emotions; Concentration, Calmness, Energy and Happiness were experienced most strongly. Unpleasant emotions such as Downheartedness and Sluggishness were not experienced strongly in general.

Students reported less positive attitudes to musical practice; see Table 2. The extent to which musicians in these subgroups sought to regulate these emotions is shown in Figure 1 right side plot. Table 7. Figure 1. Mean ratings for typical left side plot and regulated right side plot emotions in musical practice. Both subgroups reported that they would seek to substantially increase the intensity of Concentration, Energy, Calmness, and Happiness to support their musical practice.

Both subgroups also reported that they would seek to substantially reduce the intensity of Anxiety, Gloom, Downheartedness and Sluggishness, despite only moderately intense typical experiences of these emotions. Differences in subgroup regulation were additionally seen with respect to Anger and Nervousness. Table 8. CATREG is advantageous in this context as it can be performed with little reliance on the assumptions required for standard multiple regression, including normality, multicollinearity, and homogeneity of variance Shrestra, It can also be performed when the predictor and outcome variable s are any combination of continuous, ordinal or categorical.

In the current analysis, subgroup affiliation was scaled as a categorical target variable. Predictor variables included demographics, musical experience variables, attitudes toward musical practice Flow , and ratings of typical emotion experiences.

All predictor variables were scaled as either continuous or ordinal on the basis of the practical implication between the levels of each variable. In step 1, the Lasso Least Absolute Shrinkage and Selection Operator; Tibshirani, regularization method was used to identify predictors with the greatest capacity to predict subgroup affiliation.

In step 2, a simplified version of the regression was re-run, using only the variables identified by the Lasso as the optimal subset of predictors. A set of eight variables was identified by the Lasso as the most parsimonious set of predictors.

These variables were brought forward into the final, simplified model. The contribution of each variable in the final model is shown in Table 9. Via an online questionnaire distributed to musicians, this study investigated emotion regulation behaviours in the context of musical practice. With respect to the hypotheses outlined in the introduction, the following summary is provided:.

Findings support H 1 : Musicians reported using affect-improvement strategies more often than affect-worsening strategies to influence how they felt during their musical practice. Findings support H 2 : Greater reported use of affect-worsening strategies was associated with stronger endorsement of the meta-emotion belief Non-Hedonic Driven Practice. A component of this belief relates to the possible benefits of unpleasant emotions. Findings support H 3 : Musicians who strongly pursued long-term Mastery goals showed stronger endorsement of Non-Hedonic Driven Practice in contrast to musicians who strongly pursued short-term Enjoyment goals.

These emotions were targeted in conjunction with several pleasant emotions. The findings of this study suggest complex potential connections between musical practice goals, meta-emotion beliefs, and emotion regulation strategies. A selection of these connections are shown in Figure 2. Findings of this kind have not been demonstrated previously in the context of musical practice.

Nonetheless, there are a number of important connections to existing research on music-making, as well as a range of other topics. Most notably, our findings complement research conducted by Peistaraite and Clark They investigated how emotion regulation processes relate to self-regulated learning SRL among classical musicians.

In this context, emotion regulation behaviours were framed as general cognitive-affective behaviours. Their findings showed that reappraisal an emotion regulation process that involves modifying the way in which a situation is evaluated; Gross and John, correlated with multiple scales of all three phases of the SRL construct: forethought, performance, and self-reflection according to Zimmerman, Peistaraite and Clark showed that reappraisal was associated with enhanced use of SRL in musicians and suggested the potential utility in considering emotion regulation as part of SRL in musicians.

Our approach complements their findings by assessing self-reported regulation of specific targeted emotions during the musical practice process. Figure 2. Overview of the main concepts under investigation practice goals, meta-emotion beliefs, and emotion regulation strategies , and a selection of relevant results. The colour of the arrows indicate the direction of univariate effects e. Mastery, i. Enjoyment, i.

The current Mastery and Enjoyment goal factors were weakly correlated, suggesting that these goals are relatively discrete.

Emotion regulation strategies and meta-emotion beliefs: There is a coherent relationship between the strategies musicians reported using to regulate their emotional state, and their beliefs regarding the functional impact of emotions in musical practice.

If individuals believe that certain emotions are helpful to the pursuit of a particular goal, then it is reasonable to expect that whatever emotion regulation strategy they use is intended to bring about these desired emotions Lane et al. Current findings showed that stronger endorsement of Emotion-Driven Practice was associated with greater reported use of affect-worsening strategies and significantly less reported use of affect-improvement strategies.

Given that affect-improvement strategies are intended to bring about pleasant emotions, the intensity to which pleasant emotions were typically experienced in musical practice may help to interpret these findings.

Generally, musicians experienced pleasant emotions quite strongly in their musical practice, but not unpleasant emotions. Presumably, musicians will not need to regulate every desired emotion.

Some emotions may already be at the desired or optimal intensity Lane, Musicians who strongly endorsed Emotion-Driven Practice may not have used affect-improvement strategies more often because pleasant emotions might have already been experienced at a sufficient intensity. The use of affect-worsening strategies may function as a counterbalance, by ensuring that these emotions remain at the preferred intensity. Stronger endorsement of Non-Hedonic Driven Practice was associated with greater reported use of affect-worsening strategies.

Endorsement of this belief had no effect on the reported use of affect-improvement strategies. A component of Non-Hedonic Driven Practice specifically concerns the potential benefit of unpleasant emotions in musical practice. This finding suggests that musicians who believe that unpleasant emotions may help to improve musical practice may be willing to experience an unpleasant emotional state.

This result is consistent with findings from Lane et al. Meta-emotion beliefs and practice goal orientation: Strong Enjoyment orientation was associated with weaker endorsement of Emotion-Driven Practice and Non-Hedonic Driven Practice. In contrast, strong Mastery orientation was associated with stronger endorsement of Non-Hedonic Driven Practice. There was no effect of Mastery orientation on endorsement for Emotion-Driven Practice. Associations between performance and the functional influence of emotions develop over the course of time and experience Hanin, Therefore, in addition to learning strategies, it is plausible that Mastery-oriented musicians may also possess a more diverse set of meta-emotion beliefs.

Endorsement of Non-Hedonic Driven Practice may arise as a consequence of greater exposure to the challenges of mastering musical and instrumental skills. Indeed, the Mastery-oriented musicians in the current sample were more experienced and reported a greater Cumulative Life Practice time CLP compared to Enjoyment-oriented musicians strong endorsement, respectively on a descriptive level see Table 4.

It is possible that Mastery-oriented musicians may be driven, to at least some degree, by instrumental motives for regulating emotions. These musicians may be more willing to experience unpleasant emotions if they are believed to be beneficial to the development of expert musical skills.

Regulating specific emotions to support musical practice: The theoretical framework outlined in the introduction provides information concerning the specific performance benefits associated with different emotional states.

This information is discussed here with respect to the specific emotions that musicians sought to regulate in their musical practice. Musicians were assigned into subgroups on the combined basis of their practice goals and meta-emotion beliefs. This allowed contrasting approaches to musical practice to be compared. When asked to report how they would regulate specific emotions in order to support their practice, points of convergence and contrast between these subgroups were observed.

Although these emotions were typically experienced at a relatively low intensity, the preferred intensity was very low.

Furthermore, the passive quality of these emotions may prompt behavioural responses that are not conducive to effective musical practice Gross, Practice may be better supported by emotions that prompt a musician to be proactive. Not only were these emotions typically experienced quite strongly in musical practice, but the preferred intensity was also very high.

Pleasant emotions are often linked to improved performance for a summary in sport contexts, see Lane, A substantial up-regulation of these emotions may be advantageous for a musician, as even mild increases in positive affect has been associated with better performance on creative, academic, and problem-solving tasks e.

In that sense, this finding is comparable to findings of Lane et al. Unpleasant emotions are generally not associated with improved performance and practice. Unpleasant emotions may have a debilitating influence on concentration Hanton et al. However, as previously mentioned, unpleasant emotions may sometimes be more helpful than pleasant emotions Davis et al.

Furthermore, anger does not necessarily lead to aggression, nor nervousness to anxiety or stress Deffenbacher and McKay, If Anger and Nervousness are up-regulated alongside these pleasant emotions, this may in fact represent an advantage to having a strong Mastery orientation in musical practice.

The mixed mindset of Mastery: Unpleasant emotions are not simply the opposite of pleasant ones. They differ from one another in terms of their behavioural and cognitive effects, and there are independent neural substrates that allow both to be experienced simultaneously George et al. If pleasant and unpleasant emotions are experienced together, this is referred to as a mixed emotional state Carrera and Oceja, Bowed-string student instrumentalists reported experiencing mixed emotional states whilst waiting to perform onstage.

Mixed emotional states may involve experiencing one emotion more intensely than another Carrera and Oceja, The three pleasant emotions in this set were up-regulated to a greater intensity than the two unpleasant emotions, on a descriptive level. In the case of Mastery-oriented musicians, a mixed-emotional state may actually be preferable to an exclusively pleasant or exclusively unpleasant emotional state Mukherjee et al.

However, some musicians targeted unpleasant emotions in order to support the pursuit of their Mastery goals.